Alfred Francis Kreymborg (December 10, 1883 – August 14, 1966) was an American poet, novelist, playwright, literary editor and anthologist. Linda Lovell begins her biography with MM’s 1915 trip to New York during which her first stop was Stieglitz’s 291 studio and the second, later that afternoon, a visit with Kremborg and his wife Gertrude at their apartment. Kreymborg had recently accepted Moore’s work for his little magazine, Others.   

A native New Yorker, Kreymborg was part of Stieglitz’s circle, an editor of his magazine The Glebe, and involved in publishing Pound’s Des Imagistes, the landmark anthology that included poems by H. D.,  Aldington, Williams, Cournos, Joyce, Pound, and others. When asked by Donald Hall in his Paris Review interview whether Kreymborg did all he could to promote me. Miss Monroe and the Aldingtons had asked me simultaneously to contribute to Poetry and The Egotist in 1915. Alfred Kreymborg was not inhibited. I was a little different from the others. He thought that I might pass as a novelty, I guess.”

Calling himself by his nickname, Kreymborg in his memoir  Troubaour (1925) writes: “Both [Krimmie and William Carlos Williams] held the mind of Marianne Moore in absolute admiration. What they lacked in intellectual stability was freely and unconsciously supplied by her. And her familiarity with books on every conceivable theme astonished them. ‘How she can spin words!’ Krimmie would say and Bill would add ‘We’re a pair of tyros by comparison.’”

After others, which he edited with Wallace Stevens, Skipwith Cannell, and Williams, Kreymborg edited Broom: An International Magazine of the Arts with Harold Loeb, and, with Paul Rosenfeld, developed an anthology, American Caravan. Later, he went on to contribute to The Dial in 1923, before Moore was involved as editor, to work in radio, publish plays, and otherwise maintain a presence on the literary scene in New York.

For a full consideration of Moore’s interactions with Kreymborg during her early publishing in little magazines, see Robin Schulze’s superb coverage in her Becoming Marianne Moore,